William Adolphe Bouguereau
- was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body.
A portrait of Mary Moser by George Romney in 1770-1
plus a bonus: The Portraits of the Academicians of the Royal Academy, 1771-72, oil on canvas, The Royal Collection by Johan Zoffany
George Romney (26 December 1734 – 15 November 1802) was an English portrait painter. He was the most fashionable artist of his day, painting many leading society figures – including his artistic muse, Emma Hamilton, mistress of Lord Nelson.
Johan Joseph Zoffany, RA (born Johannes Josephus Zaufallij, 13 March 1733 – 11 November 1810) was a German neoclassical painter, active mainly in England. His works appear in many prominent British National galleries such as the National Gallery, London, the Tate Gallery and in the Royal Collection. His name is sometimes spelled Zoffani or Zauffelij.
Mary Moser RA (27 October 1744 – 2 May 1819) was an English painter and one of the most celebrated women artists of 18th-century Britain. One of only two female founding members of the Royal Academy in 1768, Moser painted portraits but is particularly noted for her depictions of flowers.
London-born Moser was trained by her Swiss-born artist and enameller father George Michael Moser (1706–1783) and her talents were evident at an early age: she won her first Society of Arts medal at 14, and regularly exhibited flower pieces, and occasional history paintings, at the Society of Artists of Great Britain. Ten years later, however, her thirst for professional recognition led her to join with 35 other artists (including her father) in forming the Royal Academy, and, with Angelica Kauffman, she took an active role in proceedings.In a group portrait by Johann Zoffany, The Academicians of the Royal Academy (1771–72; Royal Collection, London), members are shown gathered around a nude male model at a time when women were excluded from such training in order to protect their modesty. So that Moser and Kauffman could be included, Zoffany added them as portraits hanging on the wall.
George Romney (c. 1770) painted a portrait of Moser at work on a still life which was acquired by the National Portrait Gallery (London) in 2003. In the 1790s, Moser received a prestigious commission, for which she was paid over £900, from Queen Charlotte to complete a floral decorative scheme for a room in Frogmore House in Windsor, Berkshire. This was to prove one of her last professional works; following marriage to a Captain Hugh Lloyd on 23 October 1793, she retired and began exhibiting as an amateur under her married name. She continued showing at the Royal Academy until 1802. At this period Moser had an open affair with Richard Cosway, who was then separated from his wife Maria. She travelled with him for six months on a sketching tour in 1793. In his notebooks he made “lascivious statements” and “invidious comparisons between her and Mrs Cosway”, implying that she was much more sexually responsive than his wife. She died in Upper Thornhaugh Street, London, on 2 May 1819, and was buried, alongside her husband at Kensington Cemetery. After Moser’s death in 1819, no further women were elected as full members of the Academy until Dame Laura Knight in 1936.
Ballet Dancers in a Red Salon (c.1920-c.1970). Jules René Hervé (French, 1887-1981). Oil on panel. Leighton Fine Art.
Ballet dancers practice while one plays music at the grand piano in a fine red salon. Hervé was an Academic painter known for his paintings of cityscapes and landscapes as well as ballet dancers. Hervé painted in an impressionistic style that captured the shimmering texture of his subjects.
Monet on the Run - 2. Refusals In 1868, the Jury of the Paris Salon had still admitted Monet’s work to the Salon, but when the exhibition was rearranged mid-way to spotlight the medal winners and the government purchases, his paintings were moved to a remote gallery, known as the ‘dépotoir’ or rubbish dump. The entries of his friends Renoir and Bazille suffered the same fate. One year later, Monet’s submissions didn’t even pass the Jury’s verdict. To a large extent, he could blame it on Jean-Louis Gérome, a successful academic painter and an influential member of the Jury.
was Monet’s other refused work of that year. Today, it is considered to be one of Monet’s best snowscapes (and there are about 140 of those).
Claude Monet, La Pie (The magpie), 1869. Oil on canvas, 89 x 130 cm. Musée d’Orsay, Paris
Makovsky was an influential Russian painter, affiliated with the Peredvizhniki school of Realism. While some of his work reacts against the Academy, he found success in the Salon alongside other Academic painters, and his work can be seen as perhaps related to the French movement of Academic Naturalism. Many of his historical paintings showed an idealised, Romantic
view of Russian life of prior centuries, with a particular focus on
Boyar people and culture. He was also a popular and prolific portrait painter.
i dont mean to be rude but i dont get how you can draw so well at your age ~ i mean what i did mainly in my teen years instead of drawing was staring at a hopeless future
I don’t think you’re being rude at all! heck I also think that way about other artists. Haha it’s actually disheartening to me and stresses me out a lot, so I just try not to think about it and I tell myself to just realize that age doesn’t dictate the skill level an artist is at/will be at, it’s mostly making an effort to learn and improve, which anyone can do at any age :) Sure, it might be intimidating or annoying (I know how annoying it is, lemme tell you) but don’t get hung over it or beat yourself up about it like I did/still do. It gets in the way of drawing hahaha..
If it helps you, what I did to improve was to find artists who were exceptionally skilled and to learn from them, and by exceptional I mean dead, because back then in my opinion most artists were incredibly disciplined, i.e. Rockwell, academic painters, etc. and they learned from teachers who knew what they were doing (which, and I should say this here, should tell you to not take 100% of my tips as actual fact, lol, this just works for me). Of course, there are still great artists out there who are alive/on the web, but in my experience trying to learn from them made it harder for me to improve, since learning from a style is not as beneficial as learning from the basics. This is just my take on the issue though.
I don’t know you too well (sorry), but that just seems like the perfect choice to tell you my life story hah so around 2 yrs ago or so, when I was complete crap at drawing (I mean compared to now), and when I realized that my art was just, so bad, I practically panicked and freaked because heck, I thought I was working hard at what I was doing; I thought my art was “good enough” (let me just say now that good enough is never good at all) but seeing other artists who seemed like they were basically cruising through every artwork and having it turn out phenomenal without what it seemed to me like barely any effort at all just pissed me off, AND they were in my age group, made me get off my ass and stop wasting my time with non-challenging artwork. See, that’s the thing, if it wasn’t a challenge, it wouldn’t make you better, right? That’s what I had come to realize.
So yes, while I am a teenager now, bro lemme tell you I was desperate and scared af, I mean, this is all I have. Nothing much else interested me, nor was I good at any other subject in school (I’m what they call specialized a.k.a. good at one thing and suck at everything else ha ha). Other artists seemed to me like they were or were going to be more successful no matter what they do, and they could still paint something mind blowing. I had nothing, only drawing, and even then I wasn’t good at that. It fucked me up man… I was angry and sad; I made a list of all the things I didn’t know how to draw (it was long lmfao) it went a little like rocks, trees, plants, landscapes, metal, water, animals, backgrounds, stuff like that, and I incorporated whatever it was into the piece I was currently doing and just kept practicing it until I got the hang of it. 1st step here is to know what you’re bad at, don’t be soft on yourself (avoiding things isn’t going to make anyone better) tell yourself, that yeah, maybe I do suck at this, and I need to get better. Constructive criticism, right/ And I kept doing that. I still have a ton of things I’m not great at, but the gist of it is to just do it. So yeah, at the time my prime motivations were pretty negative, like anger and desperation and whatever, but it got me through that phase of drawing, where I had just been satisfied with idk, a pose or whatever and that was it, no background, narrative, or expression of feeling in it. I don’t recommend having that kind of motivation, it was a really rough period to go through for me, but I’m grateful I did.
Also, I was never satisfied with my finished work. I don’t think I ever will be, and that drove me to just keep drawing. I tell myself, “don’t think you’re good.” Praise will often make someone slack off, and constructive criticism does the opposite. Get rid of those “what if’s” or “if only’s” or “I wish”. Just stop thinking and empty your mind of any negative thoughts, because it does seriously hinder your progress. Imagine that you’re pushing those annoying young artists out of the way, and just focus on the bettering of yourself/your own art. What went wrong with how I was thinking was that I cared way too much about those other artists, and I realized that obviously they wouldn’t give 2 shits about me, hell they don’t even know me, so why should I care so much about them? it was like an abusive relationship, tbh, so I just dropped it and stopped giving a fuck about them. I didn’t want any of that to affect my art, because it was my art, and it shouldn’t be turning out badly because of them. basically my thought process was “fuck them who gives a fuck if they’re a fetus and they paint better than me”, ( tl;dr of this article https://markmanson.net/not-giving-a-fuck ) sometimes you gotta be harsh with yourself to get rid of bitter thoughts. numbers never truly matter in art, and I always want to avoid any kind of math lol
And most of all, I love drawing, I couldn’t imagine doing anything else, and this might sound like some ridiculous silly dream thing a kid would say, but I wouldn’t know what else I could do/want to do. Lol I could’ve put this info more coherently, it seems kinda jumbled, but I hope you got something out of this, and of course I apologize if the long read bored you D: Work hard (and smart), enough so you can look back and admit that yeah, you worked your butt off and you’re glad you did. Whatever you’re doing, it shouldn’t be easy if you want to improve.
If you still have any specific questions just go ahead and shoot, I’ll try my best to answer them well!!!!!!! :DD thanks for messaging me ^^
o yah, and sorry it took a while to get back to you, I had to go back and edit out the cuss lingo. trying to maintain my image, hahahahahahahahhahahahaaaaaaaaa
Poynter was an EnglishAcademic painter, designer, and draughtsman working in the neoclassical style,
which he adopted after his studies in Italy and France. He was a
leading figure in English art of the time, elected president of the
Royal Academy (after the death of Millais), and his large-canvas paintings such as Israel in Egypt and
Visit of the Queen of Sheba to King Solomon were popular successes.
Wifredo Lam - Double Female Nude  by Gandalf Via Flickr: Awarded a study grant upon his arrival in Spain in 1923, Lam threw himself into studying the old great masters of the Prado museum with his mentor, the academic painter and director of the museum, Fernando Alvrez de Sotomayor. At the same time, he discovered European modernist movements. Quickly integrated into the Spanish avant-garde circles, he studied the work of Cézanne, Matisse, Braque, Juan Gris and Picasso. The Surrealist movement particularly interested him and during these years he developed an interest in ethnography and African statues. In 1938, Lam was forced to flee Spain and arrived in Paris where he met Picasso and the Surrealists. He then began a different phase of his work before leaving for Cuba in 1941, where he stayed until his return to Europe in 1952.
[Sotheby’s, Paris - Gouache, charcoal, watercolour and oil on paper mounted on canvas, 158.2 x 142.8 cm]